open character, who became Goethe's favorite, and whose name is immortalized in Götz von Berlichingen.

Goethe's stay at Strasburg is generally connected still more closely with another circumstance--his passion for Frederike Brion of Sesenheim. The village lies about twenty miles from Strasburg, and her father was pastor there. Goethe was introduced by his friend Weyland, as a poor theological student. The father was a simple, worthy man, the eldest of the three daughters was married, the two younger remained--Maria Salome, and Frederike, to whom the poet principally devoted himself. She was tall and slight, with fair hair and blue eyes, and just sixteen years of age. Goethe gave himself up to the passion of the moment. During the winter of 1770, Goethe often rode over to Sesenheim. Neither storm, nor cold, nor darkness kept him back. As his time for leaving Strasburg came nearer he felt that his love was merely a dream and could have no serious termination. Frederike felt the same on her side. On August 6th Goethe took his degree as a doctor of law. Shortly afterwards he bade adieu to Sesenheim. Frederike lived till 1813 and died single.

Goethe's return to Frankfort is marked by a number of songs, of which the "Wanderer's Sturmlied" is the most remarkable. He had outgrown many of the friends of his youth. Those with whom he felt most sympathy were the two Schlossers and his sister Cornelia. He found in her one who sympathized with all his aspirations. The work into which he threw all his genius was the dramatization of the history of the imperial knight of the Middle Ages, Gottfried or Götz von Berlichingen. The immediate cause of this enterprise was his enthusiasm for Shakespeare. After reading him he felt, he said, like a blind man who suddenly receives his sight. The study of a dry and dull biography of Götz, published in 1731, supplied the subject for his awakened powers. From this miserable sketch he conceived within his mind a complete picture of Germany in the sixteenth century. The chief characters of his play are creatures of his imagination, representing the principal types which made up the history of the time. Every personage is made to live; they speak in short, sharp sentences like the powerful lines of a great master's drawing. The first sketch of Götz was finished in six weeks, in the autumn of 1771. It ran like wild-fire through the whole of Germany.

Goethe left Frankfort in the spring of 1772 for Wetzlar, a quiet country town on the Lahn, one of the seats of government of the Holy Roman Empire. The emperors lived at Vienna; they were crowned at Frankfort; they held their parliaments at Ratisbon, and at Wetzlar their courts of justice. It was the custom for young lawyers to attend the sittings of these courts for a certain time before they could be admitted to practice on their own account. The company of these students, of the embassies from the component parts of the empire, and of various imperial officials, made the society a pleasant and lively one. Goethe soon found friends. His favorite house was occupied by one of the officials of the order, by name Buff, an honest man with a large family of children. The second daughter, Lotte, blue-eyed, fair and just twenty years of age, was first met by Goethe, shortly after his arrival, at a ball at Wolpertshausen. She strongly attracted him; he became a constant visitor at the house. He found that Lotte was a second mother to her brothers and sisters. Lotte, was really, though not formally, engaged to Kestner, a man of two-and-thirty, secretary to the Hanoverian legation. The discovery of this relation made no difference to Goethe; he remained the devoted friend to both. But the position was too critical to last. On September 10 they met in the German house for the last time. Goethe and Schlosser went together to Wetzlar in November. Here he heard of the death of Jerusalem, a young man attached to the Brunswick legation. He had been with Goethe at the University of Leipsic. Of a moody temperament, disheartened by failure in his profession, and soured by a hopeless passion for the wife of another, he had borrowed a pair of pistols under pretense of a journey, and had shot himself on the night of October 29.

Goethe immediately afterwards began his Werther. Goethe tells us that it was written in four weeks. In October it spread over the whole of Germany. It was enthusiastically beloved or sternly condemned. It was printed, imitated, translated into every language of Europe. Götz and Werther formed the solid foundation of Goethe's fame. It is difficult to imagine that the same man can have produced both works, so different are they in matter and style. Götz was the first manly appeal to the chivalry of German spirit, which, caught up by other voices, sounded throughout the Fatherland like the call of a warder's trumpet, till it produced a national courage, founded on the recollection of an illustrious past, which overthrew the might of the conqueror at the moment when he seemed about to dominate the world. Werther, as soft and melodious as Plato, was the first revelation to the world of that marvelous style which, in the hands of a master, compels a language which is as rich as Greek to be also as musical.

The spring of 1773, which witnessed the publication of Götz, saw him actively employed as an advocate. In November, Goethe's sister Cornelia was married to Schlosser and left Strasburg. Goethe felt the loss deeply. She lived but a short time. Her married life was tortured with suffering, and she died in 1777.

The summer of 1774 was spent in a journey to the Rhine. Goethe returned to Frankfort at the beginning of August. On December 11, Goethe was surprised by the visit of a stranger. It was Karl Ludwig von Knebel, who was traveling with the two princes of Saxe-Weimar, the reigning duke, Karl August, then just seventeen, and his younger brother, Constantine. This meeting decided the future course of Goethe's life.

He now came under the influence of Lili Schönemann, the daughter of a rich banker. This passion seemed to be of a more lasting nature than the others.

Neither family approved of the engagement between the youthful couple. Goethe tore himself away, and went for a tour in Switzerland.

He returned to Frankfort on July 20. August was spent delightfully with Lili at Offenbach; his letters speak of nothing but her. He wrote some scenes in Faust--the walk in the garden, the first conversation with Mephistopheles, the interview with the scholar, the scene in Auerbach's cellar. Egmont was also begun under the stimulus of the American Rebellion. A way of escaping from his embarrassments was unexpectedly opened to him. The duke of Weimar passed through Frankfort both before and after his marriage, which took place on October 3. He invited Goethe to stay at Weimar. It was not for his happiness or for Lili's that they should have married. She afterwards thanked him deeply for the firmness with which he overcame a temptation to which she would have yielded.

At this time the smaller German courts were beginning to take an interest in German literature. Before the Seven Years' War the whole of German culture had been French. Even now German writers found but scant acceptance at Berlin or Vienna. The princes of the smaller states surrounded themselves with literature and art. The duke of Brunswick had made Lessing his librarian. The duke of Würtemberg paid special attention to education; he promoted the views of Schubart, and founded the school in which Schiller was educated. Hanover offered a home to Zimmermann, and encouraged the development of Schlegel. Darmstadt was especially fortunate. Caroline, the wife of the landgrave, had surrounded herself with a literary circle, of which Merck was the moving spirit. She had collected and privately printed the odes of Klopstock, and her death in 1774 seemed to leave Darmstadt a desert. Her daughter, Louisa, seemed to have inherited something of her mother's qualities. She married, on October 3,1775, the young duke of Weimar, who was just of age. She was of the house of Brunswick, and after two years of marriage had been left a widow at nineteen, with two sons. She committed their education to Count Görz, a prominent character in the history of the time. She afterwards summoned Wieland to instruct the elder, and Knebel to instruct the younger.

Upon this society Goethe rose like a star. From the moment of his arrival he became the inseparable companion of the grand-duke. The first months at Weimar were spent in a wild round of pleasure. Goethe was treated as a guest. In the autumn, journeys, rides, shooting parties; in the winter, balls, masquerades, skating parties by torch-light, dancing at peasants' feasts, filled up their time. Evil reports flew about Germany. We may believe that no decencies were disregarded except the artificial restrictions of courtly etiquette. In the spring he had to decide whether he would go or stay. In April the duke gave him the little garden by the side of the Ilm. In June he invested him with the title, so important to Germans, of /Geheimlegationsrath/, with a seat and voice in the privy council and an income.

Goethe's life was at no time complete without the influence of a noble- hearted woman. This he found in Charlotte von Stein, a lady of the court, wife of the master of the horse.

The close of 1779 was occupied by a winter journey to Switzerland. Two days were spent at Frankfort with Goethe's parents. Sesenheim was visited, and left with satisfaction and contentment. At Strasburg they found as to Lessing. The repertoire of the Weimar theater was stocked with pieces of solid merit, which long held their place. In August, 1792, he accompanied the duke to the campaign in the Ardennes. In 1793 he went with his master to the siege of Mainz. Goethe took the old German epic of Reynard the Fox, with which he had long been familiar, and which, under the guise of animals, represents the conflicting passions of men, and rewrote it.

Thus far he had produced but little since his return from Italy. His friendship with Schiller was now to begin, an alliance which, in the closeness of its intimacy and its deep effect on the character of both friends, has scarcely a parallel in literary history. If Schiller was not at this time at the height of his reputation, he had written many of the works which have made his name famous. He was ten years younger than Goethe. The Räuber plays the same part in his literary history as Götz plays in that of Goethe. This had been followed by Fiesco and Kabale und Liebe. In 1787 he settled at Weimar. The first effect of Schiller's influence on Goethe was the completion of Wilhelm Meister's Apprenticeship. It stands in the first rank of Goethe's writings. A more solid result of the friendship between the poets was the production of Hermann und Dorothea.

The latter half of 1798 was occupied with a tour in Switzerland. Before its commencement he visited his mother at Frankfort for the last time, and presented to her his wife and his son. In the beginning of 1805 Goethe was convinced that either he or Schiller would die in that year. In January they were both seized with illness. Schiller was the first to recover, and, visiting Goethe in his sick room, fell on his neck and kissed him with intense emotion. On April 29 they saw each other for the last time. Schiller was on his way to the theater, whither Goethe was too ill to accompany him. They parted at the door of Schiller's house. Schiller died on the evening of the 9th of May. No one dared to tell Goethe the sad news, but he saw on the faces of those who surrounded him that Schiller must be very ill. On the morrow of Schiller's death, when his wife entered his room, he said, "Is it not true that Schiller was very ill yesterday?" She began to sob. He then cried, "He is dead!" "Thou hast spoken it thyself," she answered. Goethe turned aside and covered his weeping eyes with his hands. Since that time Schiller and Goethe have been inseparable in the minds of their countrymen.

On October 14, 1806, the battle of Jena was fought. The court had fled from Weimar. On the 15th Napoleon and Goethe met. It was at the congress of Erfurt, where the sovereigns and princes of Europe were assembled. Goethe's presence was commanded by the duke. He was invited to an audience on October 2. The emperor sat at a large round table eating his